How to EQ Audio for Better Headphone and Speaker Sound

Whether you’re listening in your living room, in your car, or on a plane, you can reproduce the sound the way you want using a simple equalizer (EQ). It can even help compensate (to some extent) for suboptimal headphones or speakers. Equalizer can’t make a bad audio product sound good, but it can often improve (or at least change to your liking) the sound of most equipment.

Equalization means manually rebalancing the different frequencies that make up the audio we hear, either using software and apps or hardware knobs and sliders. The result is that it sounds “better” – a subjective term, of course. Equalizers divide the audible frequency range into segments, called bands, and you can make these bands louder or softer. Some devices have it integrated; others have it in their mobile apps. You can also find third-party apps and software that can help you as well.

Almost all home AV equipment and car audio systems have some form of equalization, either through a display or physical controls. Many Android phones and tablets have a built-in equalizer (accessible in sound settings) that affects all sound coming from the device. Apple iOS devices are limited to 22 presets in the Music app settings.

Most music streaming apps also include a mix of graphic EQ presets and sliders (more on that below). Companion apps for wireless headphones often offer similarly robust EQ features, but video apps like Netflix and Disney Plus don’t have EQ at all, making third-party EQ apps from Google Play or the Apple App Store necessary if you want more rumble in your explosions or better dialogue clarity.

Equalization Basics

The frequency range that most humans can hear is between a very deep 20 hertz and an ultra-high 20,000 kilohertz. This is what a baby with perfect hearing can probably hear. Everyone loses hearing over time, especially at high frequencies, so middle-aged and older adults won’t be able to hear frequencies above 12,000 Hz as well as younger people. But generally speaking, these are the adjustable ranges with most EQs.

With an equalizer, you can boost certain frequencies to get more of what you want or reduce frequencies you don’t like. You’re limited to what you can do with both, but adding additional volume is more difficult because all equipment has limits on how loud it can reach without causing problems such as distortion.

One of the most common types of equalizer is called a graphic equalizer, which allows you to control specific frequency bands and has a visual element to help you see how adjustments affect the frequency spectrum. These can have any number of bands and frequencies to adjust, but there are usually fewer than 10. More advanced models can have many more.

Another common type is called a parametric equalizer. These lack the visual element of graphic equalizers but tend to have finer adjustments and more flexible control. They can usually do more than graphic equalizers, but require more knowledge to get the most out of them.

Many apps simply have EQs with simple sliders that provide a wide frequency range. They’re not as easy to use or adjustable as graphic and parametric equalizers, but they can still help.

Equalization in numbers

To help explain the role of EQs, I’ll divide the audible range into six bands. Your EQ may have more or fewer options, but this should give you an idea of ​​which range does what. Additionally, specific names and frequency ranges vary a bit depending on the product. Ideally, the equalizer lists specific frequencies it can adjust, but they are often vaguely labeled with terms like these.

Sub-bass: 20-60 Hz

These are the lowest and deepest audible frequencies, more felt than heard, and will literally shake the walls if your system is large enough. To hear these sounds well, you usually need a subwoofer, which is where the depth and weight of the bass comes from, as well as the rumble of movie explosions. Putting it in your car or stereo will make you feel like you’re in a club or movie theater. Some of the best headphones can reproduce these very quiet sounds, but not all.

Bass: 60-250 Hz

This range, especially the highs, called upper bass, is usually boosted by default in many popular headphones. Increase this range to bring out the acoustic and electric basses (i.e. the instrument), kick drums, timpani and the impact of explosions. If the sound is muddy or bass dominates vocals or dialogue, experiment with cuts in this range.

Low mids: 250-500 Hz

This is where the warmth of the vocals, guitars and keyboards resides. This is also where much of the bass’s “oomph” lies. Boost for more richness and bass presence. Cut to reduce overall confusion and combine it with an upper midrange boost to make vocals and dialogue clearer.

Mid: 500-2000 Hz (2 kHz)

It is the “meat” of most instrument and vocal sounds. Give them a very slight boost to bring out the piano and guitars. Cut slightly if these instruments dominate the vocals.

High mids: 2-4 kHz

These frequencies are most responsible for the clarity of dialogue, vocals and instruments. Boost gently to make the speech stand out or give a little more definition to the beginning of the notes. You’ll want to cut them a bit if the vocals or instruments sound harsh or scratchy. Strengthening the transition range between high mids and highs can add presence and sparkle to cymbals and acoustic instruments.

Treble/treble: 4 kHz and above

It is in this highest range that sounds get their “sparkle” or “crystalline,” as well as hissing, “air,” and whooshing sounds. Think of cymbals, small bells or air in a trumpet or sax sound. You can add a boost here to bring out subtle nuances, particularly effective on high-end sound equipment capable of reproducing the highest audible frequencies well. If the sibilants seem harsh or the overall sound has a slight hiss, make a slight cut to darken the sound a bit. Too much treble can be tiring to listen to.

Equalize gently and listen, listen, listen!

If you’re not sure how a specific band changes the sound, turn up its volume until you hear the difference. This is much easier than trying to hear a volume reduction in a given range. Once you determine what the control does, make small adjustments of 2 to 3 decibels (dB) until you get the sound you want. You may need to adjust, listen, and adjust again, potentially several times, until you find the sound that moves you the most.

Also, and this is important, use a variety of different songs and styles, unless you want to create presets for each genre you enjoy. That is to say, don’t be afraid to use presets; These are just abbreviated steps that combine one or more of the adjustments above. Let your ears guide you.